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It's Fun to Play the Piano ... Please Pass It On!

Well the fact that seems the only website publishing that story makes.me think it is fake

I'm beginning to think the same thing...

Some of it seems a little over-the-top. I can understand banning certain pieces that are over-played, but violists banned from playing "any passage of music containing a rhythm in 16th-notes or faster" and vocalists from "any Mozart aria containing a trill"... that takes it a tad too far.

If it is true, I'd like to see a full list.

Edit: just noticed the point at the bottom of the page:"Note: Submediant is a satirical segment within The Backyard (see: the logo), and its contents should not be mistaken for real events—however believable."

Edited by Jolteon (11/21/1210:14 AM)

_________________________Algernon: I hope, Cecily, I shall not offend you if I state quite frankly and openly that you seem to me to be in every way the visible personification of absolute perfection.

I loved the bit about "especially composers and Historical Performance students"

As a dad of a Baroque flute student (whose last performance was with a harpsichord accompanist), I had to smile at that one as well. I had fun with the image of a harpsichord player gnashing proverbial teeth at the sound of over-pedaled 19th century piano music.

I think it's a remarkable work and, apart from the cadenza which I haven't yet mastered, I enjoy playing this work a great deal. How would you analyze it, harmonically; what tonalities become momentary tonic keys and which ones would be considered simply leading? With all the modulations, is there a key in this piece that Chopin has not touched upon?

I think it's a remarkable work and, apart from the cadenza which I haven't yet mastered, I enjoy playing this work a great deal. How would you analyze it, harmonically; what tonalities become momentary tonic keys and which ones would be considered simply leading? With all the modulations, is there a key in this piece that Chopin has not touched upon?

Regards,

I often get the sense with Chopin that he operates not along the vertical, as Rameau espoused in his treatise on harmony, but along the horizontal like Bach. He composed using counterpoint and long lines and voice leading, and in so doing I feel he mastered harmony more completely than any other composer in history. In this Prelude, he uses another Baroque device, the sequence, together with the effortless modulations that characterize his late work.

Actually I heard that in addition to banning those pieces, they are recommending a short list of pieces which includes Mozart Sonata K. 545 first movement only, Beethoven Moonlight sonata first movement only and Fur Elise. Chopin nocturne Op.9 #2 in Eb major is optional.

You wouldn't need to ban as much Chopin as you might expect. It may come as a surprise to many pianists that Chopin wrote more than two nocturnes. (Op. 27/2 and Op. 48/1 aren't the only ones!)

It may also come as a surprise to many that the Preludes don't need to be played complete and can be interspersed with these things called waltzes. There are also some impromptus that aren't hackneyed (3 in fact!)

_________________________
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt)

You wouldn't need to ban as much Chopin as you might expect. It may come as a surprise to many pianists that Chopin wrote more than two nocturnes. (Op. 27/2 and Op. 48/1 aren't the only ones!)

It may also come as a surprise to many that the Preludes don't need to be played complete and can be interspersed with these things called waltzes. There are also some impromptus that aren't hackneyed (3 in fact!)

But scherzo no. 2 is the only scherzo he wrote. He should have written more of them.

Hmmm, this really saddens me. Why should music come to that? If somebody connects with a piece,and plays it well and understand the emotional depth of the piece, then who cares whether the piece is well known or not. I just find the whole concept of "banned repertoire" pretty ignorant and silly. I mean, music is music, you can't "sort" music like that.

Hmmm, this really saddens me. Why should music come to that? If somebody connects with a piece,and plays it well and understand the emotional depth of the piece, then who cares whether the piece is well known or not. I just find the whole concept of "banned repertoire" pretty ignorant and silly. I mean, music is music, you can't "sort" music like that.